Customer Reviews

Vienna

5 star:		(6)
4 star:		(2)
3 star:		(1)
2 star:		(0)
1 star:		(0)

 

 

This will be the fifth time I've bought Vienna; vinyl and cassette way back in the Summer of 1980 (yes, I am that old), the original CD release in the 90's, the recent(ish) expanded version and now this, the "Remastered Definitive Edition".

Well, there's not a lot to say about Disc One apart from: it's the best post-Foxx album by miles. Not only do you get the classic (and that term really is apt here) single "Vienna", you get a couple of `should have beens' in "Sleepwalk" and "Passing Strangers" and one `why choose this as a single?' in "All Stood Still" . The album starts off in fine fettle with the absolutely fantastic instrumental "Astradyne", an immense seven-minute synth extravaganza. Apart from the throwaway "Mr X" there really isn't a bad track on here, with "New Europeans" being a particular highlight. So, if you've never heard this album before you'll in for a real treat.

If, like me, you bought this CD purely for the bonus disc then, as I was, you maybe a tad disappointed. Why? Well, we've been here before haven't we? The b-sides have already appeared on the excellent but long-deleted "Rare" CDs AND on the previous expanded incarnation of this album. In fact, the only unreleased material you get is a couple of rehearsal recordings of "Sleepwalk and "All Stood Still". Historically interesting perhaps, but hardly essential and certainly not worth the price of buying this CD.

Another disappointment is the booklet; some nice photos maybe, but extremely thin with no insight or comment from any of the band. Compared to other remastered releases (particularly the excellent Thompson Twins releases on Edsel) this is a real let-down. OK, so if material doesn't exist in the archives then you can't add it to anything, but this smacks of a cash-in, rather than being a truly essential release. It's nice to have the b-sides on one CD, but still...

Now, before you have a pop, I'm certainly NOT having a go at the music, Ultravox were truly magnificent on this album, it's just that the overall package smacks of bandwagoning, which is a real shame - Ultravox deserve better.

This is a remastered and expanded version of what I think is the best Ultravox album ever. It includes the original album and an additional CD that includes different versions of two of the songs, two German language versions of songs, two songs not on the original album and four live versions (two of which are John Foxx-era songs done by the post-Foxx line-up). It's a great upgrade of this album with one exception: for some reason the record company flipped upside-down the order of the first four songs that were the first side of the vinyl version. This was a little disconcerting to me, who grew up with the original order of these songs. Despite this (hopefully unintentional) mistake, this is a package well worthy of purchase. P.S. A personal note: I'd like to say a public "Thank You" to Warren Cann, the band's drummer. I was working at a Licorice Pizza record store during a 1980 in-house visit the band made in San Diego to promote this album. After talking to me more than anyone else during that visit (mostly about drumming), the band was about to leave when he said to me "Goodbye, Tim. I'll see you tonight at the concert." When I told him "No, you won't", because I didn't have the money for a ticket, he put me on "the band's list" and I got in for free. It was one of the best concerts I've ever seen. Warren, if you ever read this, I just want to say "Thank You" for one of the nicest things anybody has ever done for me.

I personally cannot agree with some people claiming that in the Midge Ure era Ultravox lost all creativity and innovation. They did so eventually, but not instantly. Especially the Ure-fronted releases Vienna and Rage in Eden I find quite captivating and equally as good as the Foxx releases.

"Private Lives" is one of the only songs that pertains to a certain New Romantic cliché; still it's not totally bad, as it features Billy Currie's trademark treated ARP Odyssey synth sound (that sounds like a weeping guitar) in the chorus, among other things.

"Astradyne" is the long instrumental opener (on most releases), quite majestic and theatrical, featuring some sweeping synth work, with all band members contributing some intricate instrument playing, showcasing Ultravox as gifted musicians.

"Mr. X" is a much sparser affair, owning much to a Kraftwerk influence, but it's not a cheap copycat, since it develops a sad haunting atmosphere and features a wistful Billy Currie violin solo (two things which Kraftwerk lack).

"Western Promise" is quite a strange song, saved from filler status by Warren Cann's solid drumming and some fine synth work in the end.

"Vienna" comes closer again to that certain New Romantic cliché, but it's still a good song, with nice piano work, infectious drum machine sounds, a poignant instrumental passage (featuring Billy Currie's weeping violin solo again), and a pompous conclusion.

"Passing Strangers" is quite dark and featuring an Ultravox typical instrumental interlude.

My personal favourites are the fast and aggressive numbers "All Stood Still", "Sleepwalk" and "New Europeans", all featuring some stomping synthbass, frenzied rock drumming and two of them even quasi-metal guitars: the apocalypse-tinged "All Stood Still", the restless insomniac "Sleepwalk" and the mutually harsh and melodic "New Europeans" (featuring a dramatic third stanza with the memorable lines 'Full of future thoughts and thrills, his senses slip away. He's a European legacy, a culture for today').

Of the tracks on the bonus disc (Further Listening), tracks worth a mention are the solemn "Waiting", the quirky "Passionate Reply", the unusual "King's Lead Hat" (a cover of a Brian Eno song, sounding like early Foxx-fronted Ultravox), and the last two live (at the Lyceum) versions of "Sleepwalk" and "All Stood Still" (which where previously unreleased).

The remastering, overall, I find has been done quite well (giving certain songs like "Mr. X" more substance). This, together with the bonus disc, makes this a worthwhile purchase, even if you own the Vienna album already in one form or another.

After frequenting many so-called eighties clubs in the bay area, it is disconcerting to realize all the quality music of the new-wave genre has largley gone unnoticed in the dance floors. This album is a prime example of such an overlooking. They prefer to spin vaucous nonsense like "You Spin Me Right Round, Baby" and Bananarama and the like at clubs these days, when they forget the grandeur of music such as this. Ultravox's Vienna is a masterpiece of the new wave era, so completley utilizing the sterile yet emotively haunting atmosphere of early synth pop. I am a big fan of the John Foxx era output, but this album is somehow much stronger than "Rage in Eden" and "Quartet" combined. I would equal this album with the previous three in quality. "Astradyne" has an elegant kraut-rock/prog feel to it, while Mr. X is eerie, forboding pop that makes Gary Numan seem docile. If you are lucky enough to find the Ultravox! albums: (self titled), Ha! Ha! Ha! and Systems of Romance, get them immediatley, then buy this album. Other comparable new wave albums that are equal in scope and beauty to those are Japan's "Gentlemen take Polaroids" and Tuxedomoon's "Desire".

Another CD buy to replace the vinyl record bought in 1977. A top 10 albums of all times.

The first post-John Foxx Ultravox release finds the band hung over from the former lead singer's post-New Romantic influence: whereas "Systems Of Romance" defined the electro-lush contingent, "Vienna" (the album) strains to break newer ground and only partially succeeds. Missed is departed visiting guitarist Robin Simon; new singer/guitarist Midge Ure, fresh from the not dissimilar Rich Kids, veers the band toward a more conventional and more than slightly bombastic rock sound. The exceptions are the instrumental "Astradyne" wherein Billie Currie saws and soars over a heavy, steady rhythm and "Mr. X," an attempt at space-spy-film noir which cops Foxx's "Touch And Go" (or the other way around). Also effective is "Vienna" (the song), which manages to stay just this side of pretentious in a genre most willing to pretend. "The feeling is gone," declaims Ure in the title track, and it is hard to disagree after the intensity of "Ha! Ha! Ha!" and the wash of! "Systems." Not a bad album by any means, but not the Ultravox of yore, either. (And why the altered, song order?)

After rediscovering this album just recently, I have found the music on it to be a collection of fantasy and sci fi. Sure, they tend to be very mechanistic with their drum beats, but if you listen the words you will see that the variety and depth of their music exists greatly in what they are trying to say. Plus, they have some fun while they are at it.

With the debut of Midge Ure, Ultravox goes to a different style. Midge's voice sounds more pop than the original lead singer John Foxx. The instruments are more refined that the previous albums. You can play this CD over and over and not get tired of it. John Foxx's solo works are amazingly wonderfull, not to be missed!!!

This is a great album. Get it!